Categories
Travel

Paleochora, Aegina 

By Lizzie Walsh 

Whilst the Acropolis or the temple of Aphaia amassed huge swathes of tourists, pop up coffee stands, tat stores and keep off signs, here, there’s no ticket office but just a rusting blue road sign, covered over in peeling paint and stuck ad hoc into the rubble curb. We’re the only visitors, so we stop in a layby and pile out the rental car, wondering if we’ve made a wrong turn and the winding drive has left us at a dead end. 

This is Paleochora. The little-known Byzantine ruins tucked into the interior of the Aegina hills, one of the closest islands to Athens, built as a refuge from pillaging pirates. It is the remains of an old town that purportedly had 365 chapels and churches- one for every day of the year. Now only 38 remain, hidden from the Saracens, shells of fragile stone guard mosaicked gold within the mountains’ shadow shelter. 

It’s just a few steps from the eroded signpost and display board to the first chapel of Timios: a whitewashed building still in use despite the large lightning shaped fracture above the threshold. The shrine holds gifts and wishes that the faithful locals have left as tokens to the saint: often pictures of people to hold in prayer, other times gleaming silver tamata– votive offerings of embossed metal, given the Greek saints’ apparent penchant for shiny things. The chapels lead us gradually up the rock-strewn hillside, it’s around 11am and already 30 degrees and we’re looking at churches – most of which no longer have roofs, it’s a tiring but rewarding climb. While plants and weeds grow through the old places of worship, the gifts and tamata are still left at the shrines in small mounds by the entrance or rocky enclaves. The saints still seem to serve their purpose despite their fallen sanctuaries. Nevertheless, where the ceilings and insides are intact there are the tell-tale signs of devotion, sometimes a locked door, a burning sanctuary lamp, holy oil in old water bottles (definitely olive oil), holy water in old coke bottles, a hung sakkos – the orthodox priests are elusive but attentive. I imagine they must have come up at dawn or slept the night in these essentially cave-like lodgings with their single aisles and fading icons. 

Each chapel honours a different patron saint important to the islanders. Although we’re alone on the hill, aside from a small group of (loud) American student archaeologists, the presence of these 9th century digs is somehow comforting, the prayers of centuries preserved into the knolls and stones. We pass Barbara, Nikolas, George, and Episcopas amongst the remaining 38 patrons. Cicadas and bleating goats fill the beating September air, prickly pears, figs and pefkos dot the valley’s expanse- sun baked pine gusts, mingling with the salty breeze. Some olive trees look as wizened and knotted as the ruins themselves as we reach the more 14th century Venetian citadel atop this antiquated land. 

We enter one partially preserved shrine where the gaping window has been infilled and jammed with rocks, wooden madonnas, engraved saints, and scrap metal, so as to block the light falling on the older wall mosaics. This haphazard, makeshift shield is almost a sculptural collage itself, a blessed form of heritage protection. The paint peels and dust falls gently from the walls as we creak shut the door behind us. The scent of burning sage turning to ash drifts toward us, as the delicate construction exhales under the weight of our feet. Striking frescoes pepper the stone, cobalt blue melts into sandstone and madder red, a broken halo, faded dove, a saint’s foot: these are what remain of the archaic art that murmurs biblical tales through the fragments. Icons are now venerated by lizards, the occasional hornet and absentminded tourist. There’s no health and safety, even though some churches are so entangled within the rock faces and groves that we literally have to scramble and climb inside, to find tree roots holding the building- breaking through the byzantine marble. 

Remarkably, people still lived in the steep and hidden town until 1840, when the islanders moved outwards from Vathy towards the coast and started their pistachio growing enterprise on the more fertile western slopes, for which Aegina is now famed. The old town of Paleochora and the island herself were eventually overrun with pirates, creating a stronghold during the 12th century. From there, Aegina fell under the successive rules of the Venetian Republic and then was brutally captured by the Sultan Sulieman in 1537 when Ottoman rule commenced. Finally, it was a centre of the Greek revolutionary influences during the war of Independence, then later becoming a tourist spot for weekend-ing Athenians. These saints have seen it all. 

Categories
Reviews

Bigger and Closer (not smaller and further away): Hockney (and Critics) in Review 

By Lizzie Walsh

‘An overwhelming blast of passionless kitsch’ reads the Guardian’s reckoning of David Hockney’s 2023 ‘Bigger & Closer (not smaller and further away)’, from an unfavourable review published last February. For the inaugural show at the Lightroom exhibition space at Kings Cross, Hockney was a big catch and exhibited for an extended period after great success from the initial running period, rounding up to eleven months at the venue. It goes on to say, rather damningly, that ‘unfortunately the kitsch is not just a twinkle but an overwhelming crescendo’; that the hour long ‘immersive’ exhibition joins all other immersive shows in the ‘passionless dustbin of forgetting.’ 

While this may have been the case for that certain reviewer, I remember the show from last March as a delightful dive into the artist’s process, as a welcome crescendo that placed the traditional gallery purveyor as witness to the process on the artist’s dimension (not the dustbin). Particularly striking about the show, which stays with me, was the play upon (or rather upheaval of) human visual perspective. The exhibition was split into six sections or chapters of looping on repeat, illustrating the joyful relation the artist has with the natural world and technology. His desire to share his art with the world- the way he sees things- was palpable in his voice recordings from different points in his life that run over Nico Muhly’s contemporary score. While it was critiqued by some as occupying a strange space in the immersive world, with most shows of that nature being when the artist is dead, such as the recent retrospectives for Gustav Klimt and Van Gogh, the magic of this event was the artist’s sheer attentiveness to time, space, and photographic placing- he seems to draw with a camera. After all, if we can have retrospective immersions, why not prospective? Hockney reveals what is probable and possible for people who make pictures. 

His lesson on perspective sets us up for a very precise placing of his pictures and reflection upon his own life’s works, his meticulous need to create and expand. Taking us on a brief tour of the camera obscura and the advent of photography, he observes how ‘we see psychologically but cameras see geometrically.’ By layering his pictures in a cubist style, as for example in Chair, Jardin du Luxembourg (1985), we might become, in a sense, closer to the realities of space, despite it being a digital show. Indeed, Hockney elaborates that ‘by putting more in, you get more reality, I think.’ The experience is ebulliently experimental, even including some of the artist’s works for operas from the 1980s – a welcome midway juncture from his landscapes, pool paintings and iPad creations. This is the man whose Portrait of an Artist (Pool with Two Figures) sold for 90.3 million in 2018, becoming one of the most expensive paintings sold at auction by a living artist. 

However, critics went on to say, as in Time out, who described their experience as: ‘looking for the art in it is like looking for the music in a bacon sandwich’. A sizzling and crisp critique that lacks in the imagination department, a stifling remark that suggests complete disaffection from either sandwich or show. Here the clue is in the title ‘Bigger and Closer (not smaller and further away)’ it is a collection of pieces that form a moving loop of art that is primarily about the practice of looking and the interpretation of getting closer to that sensory game rather than looking at art in the traditional sense of the gallery goer. Instead, the observer is within Hockney’s shifting artscapes, as his hands turn the concertina pages of East Yorkshire scenes, vast tracts of trees and drawn-out fields. Pathways light the floor, meandering onto the walls of the Lightroom as the music rises in vivacity. 

The virtual installation such as The Wagner Drive (San Gabriel Mountains 2012), is itself a beautiful story of climbing, vertiginous views. In the recording over this piece, which projects onto the ‘cavernous sort of gigantic warehouse type room,’ (Rich Roll) just off Coal Drops Yard in London, Hockney speaks to his audience recounting listening to Wagner again and again on the road that winds through the San Gabriel Mountains. Conducting his ekphrasis, the stereo music and the pixels to be choreographed with the car just reaching the top of the mountains. And yet, my mum recalls feeling travel sick during this particular segment of the show. All perspectives are subjective. 

“I don’t care what critics say about me,” Hockney says in one interview. “I think it’s really good.”

Hockney at the exhibition – credit: The Guardian
Categories
Travel Uncategorized

Mauricelli with a side of Medici

The stratified building is a mammoth of design, several renaissance and architectural museums housed within the old bank: herculean figures move the viewer in scherzando amongst the daring mirrors, traversing historical battle friezes and old Florentine portraits. Amongst the tourists, art guards and generous collections is a canvassed space, dedicated to the visionaria of Italian fashion, Germana Marucelli.  

 

The curator’s pre-ambling score describes the temporary exhibit and Germana’s pieces as ‘woman in constant metamorphosis’; the original furniture and oval dimensions of the salon walls are contained in the exhibit, unfolding an immersive experience that combines ‘in un connublio perfetto tra arte, moda, spazio, volume e colore’, (Uffizi catalogue description 2023: Compositore Spaziale Rosso, Paulo Scheggi). 

 

Getulio Alviani’s Interpretazione speculare, is presented alongside Carla Venosta’s Tavolo, and accompanied by several works by the designer Paulo Scheggi. Counterpointing, each element works together to signal the different design lines that Germana made throughout her career. Scheggi’s 1964 inter-surface canvases act as precursors to Mauricelli’s Optical Line (Spring/ Summer 1965), as well as laying the foundation for his own later works, which can be credited with the forging of the spatial art epoch in Italy. The placement of these objects brings the viewer further into Mauricelli’s design practice, her intellect and technique, whilst leaving the panorama of the museum in the periphery. 

 

The musicality of Mauracelli’s lines resounds in her sketches: Presenze (Presences) reverberates the renaissance technicalities of figure, whilst displaying an antagonism in the golden material itself. In another space, an angular armoured bodice floats above azzure culottes. There are hints of space odyssey, especially in the Alluminio line- the ‘Completa da sera’ suit (Spring/ Summer 1969) – moves beyond a dyad through the immersive reflectors that the gallery have strategically placed, with the lapis silk that ripples to the museum fans. [fig.1 and 2] 

 

Giotto al funghi

The feast of the assumption- a national holiday in Italy, leads us north to Padova and coincidently to Giotto’s Scrovegni Chapel dedicated to the Madonna and nestled in the Roman Arena ruins. By train, Firenze S.M.N station offers some direct trains in the direction of Venezia S. Lucia; in August the journey took just short of two hours, avoiding the crowds that were staying onto Venice. Padova’s different pace seems not only a reflection of the religious holiday but the significance of Giotto’s art trail of 14th century frescoes (a world heritage site since 2021). The opening of the chapel to the public for the evening series Giotto sotto le Stelle from March and November is an atmospheric way to explore the chapel, located in the city’s old centre. Booking a day in advance is advised due to the limited capacity of the site. The Giardini dell’Arena (adjacent to the site) has several drinks and food stalls for before the visit, whilst some other restaurants opened later, gaining a two euro commission for holy day… 

 

Pinsa Pizzeria has a good selection of beer, pizze and pinse on Corso Giuseppe Garibaldi Street. The Papa Francesco or Garibaldi pizze were recommended and deviously good. In the region, you may also find a curious pasta, strangolapreti- nicknamed as priest chokers- the twisted shapes are best with chanterelle and veronese mountain cheese or, with ragu.

 

The lure of Padova’s Giotto cycles- repaired from twentieth century war damages- follow the painter’s early journey through the medieval town before his emergence back in Florence as a renowned gothic star. They remain an interesting way to navigate the city today. However, the one-way systems and number caps may entice you to the outdoor spaces the city has: to its food markets such as outside Ragione Palace and the Gastronomia marcolin or to the Orto Botanico gardens of the university. Near the Basilica of Saint Anthony (Padua’s saint) the gardens lie south from the main station, the Via S. Francesco will take you past the perimeter of the reliquary towards the main entrance of the pilgrimage site, opening onto the piazza del Santo. The Magnolia tree (1786) and infamous hollow Plane Tree (1680) are important points within the garden, the museum that adjoins it illustrates the romanticisation and study of the plants by Goethe as well as showcasing a strangely large clay mushroom collection. The garden’s app, Botanical Garden of Padova, is a great point of reference to learn more about the history of the trees, fauna and fungi and how certain plants came to be in the ambient northern city. 

 

Categories
Poetry

Blue Star

Blue Star

Lizzie Walsh

 

They sink into blue

Sweet remembered hue

Wet salt of our eyes 

Cannot say our goodbyes.

 

Cascading downwards 

There are stars in the sand, winking 

There are lives in the sand, dazzling 

Watery constellations 

 

Beloved ones stolen 

Can I say chosen? 

Don’t fight it, accept 

The lost close-kept

 

My sun in blue stars 

Are not these lives- ours?

 

Categories
Perspective

One Year On

One Year On

Reflections on November 2021

By Lizzie Walsh             

 

It was like picking up a thousand tiny pieces of a jigsaw puzzle. But I was the puzzle and I’d been shaken and broken, splintered.

There were parts where I’d forced lives which didn’t fit back together.

It all jumbled together in my mind like the broken washing machine in the hospital, my brain was all jammed and mushed up- ‘out of order’.

 

I reread the ‘staying calm’ board ritually, there’s advertisements for Headspace and other apps.

But I don’t have a phone or any access to the time to count my breaths, so my heartbeat is my rhythm, my dancing home.

Dance.

They gave me dance lessons I recall but there was no ball.

 

I ask for a poppy as it’s November.

‘No pins’ I’m told ‘you can have a clip on’.

As if I didn’t already feel like a child with the forced mealtimes and nighttime checks.

And my family and friends visit me in the room with the elephants and tigers on the wall, toys on the floor.

 

In those weeks people said it was like a fuse had gone in my head, that my nerves were frazzled, my neurons frayed.

A fuse can be a device on a bomb or firework which delays the explosion so that people can move a safe distance away’, and everyone had moved away.

But they were safe and that’s all that mattered.

 

And I’d shot off into the sky: a bright green effervescent blaze, rupturing, bursting, shattering.

 

I felt watched.

A spectacle.

 

I’d tried podcasts, CBD oil, meditation, the usual as well as illicit substances searching for peace.

But sleep was never tangible, no she was a swirling mystery to me: I hadn’t felt her embrace in weeks.

And when I did it was in nightmarish stints.

I could barely stand to shower I was shaking falling falling apart, puzzle pieces everywhere…all across the bathroom floor.

 

The nights are the worst.

Alarms sound as one of us tries to escape.

There’s running, screaming, fighting with the nurses.

Not me mind.

I just lie there, door locked, but sleep eludes me while insomnia deludes me.

 

Sometimes I imagined you were there with me, and it was your hand that guided me through the darkness, stitching me back together.

 

‘Where are you, where are you?’ echoed my voice inside my head.

 

I know your silence isn’t your absence.

 

One year on.

And my poppy has a pin in it now.